Nandi at Lepakshi

n Hindu Mythology Shivalinga and Nandi are inseparable. Wherever there is a temple dedicated to Lord Shiva, an idol of Nandi is sure to be found  inside the temple complex.Nandi at Lepakshi is a bit different in the way that it is outside the temple enclosure, say about five hundred meter away on the road side. But then so is the big majestic Shivalinga in the temple. Infact the main deity of this temple is Veerbhadreshwara, a form of Lord Shiva only and the very artistically carved Nagalinga is  in the open courtyard of the temple outside the sanctum. The Nandi faces this Shivalinga.May be during the time both these were sculpted there were no high buildings in that five hundred meter stretch and Nandi even from that distance was able to continuously gaze his beloved lord and master.
This splendid Nandi bull is of gigantic dimension, approximately 4.5 meter high and about 8 meter long.This monolithic bull is a spectacular example of prodigiously talented artists of the Vijayanagar empire period.The massive Nandi bull like a guard presides over the entrance of Lepakshi town.
The exquisitely carved details of ropes, belts and bells over the body of Nandi are one of the finest example of stone craftsmanship.







For ages it sits elegantly under the open sky rapt in the bhakti of the supreme Lord.






Look at those intrinsically carved details of all the ornaments…and the expression of Nandi Maharaj…I can almost see a delicate smile lingering on His face. Are you able to make out the mythical bird with an elephant in it’s claw, hanging as a locket from the chain? Well, it is said to be an insignia of Vijayanagar kings.






Like me do you too find a Ganesha reflected here?






The green lawns. shady trees and rocks here and there… a perfect setting to set you on pondering mode about our rich cultural heritage…the bygone times….almost tempting you to jump into a time machine and live that era for some time.






The lotus ponds and the rocky terrain stretched around makes it a perfect spot to spend leisurely time.
Nearby this spot is Andhra Government guest house with fooding and lodging facilities.


All the pictures by Sunder Iyer.

Murals at Lepakshi

Sri Dakhinmurthy is the form of Shiva that depicts Him as cosmic guru, imparting wisdom which enlightens and enriches. The iconographic depiction of the form though not consistent mostly illustrates Shiva in a seating posture, under a Vat Vriksha, His right leg stretching down resting on a dwarfish demon.This demon symbolically represents lack of knowledge. In the fresco at Lepakshi though Shiva’s foot does not rest on demon but he can be seen near His foot. As Dakhinmurthy extolls Shiva in supreme teacher form, His one hand is shown in gyan mudra. Normally Rishis, munis are seen sitting on the ground near Him imbibing the divine words.But in this mural at Lepakshi the artists have mingled the prevelent local cultural influences. On Shiva’s head rests a cap like Sufi saints. Jana receiving/ arriving to receive the Gyan are seen dressed like Sultans and Muslim saints. Creatures from Hindu mythology too can be seen and near the demon is perhaps standing goddess Parvati. The creative liberty mixed in right dozes with mythological references makes this mural an interesting document of history, culture, spiritual beliefs and interpretation.



Kiratharjuniyam is a sanskrit Mahakavya composed by Bhairavi narrating the story of severe penance by Arjun to obtain weapon Pashupatha from Lord Shiva in order to defeat Kaurava in the battle and the in between incidents till he finally becomes successful in his mission.
Fresco below depicts one of the scenes from Kiratharjuniyam.Perhaps a scene from the very beginning of the story where Vyas muni advises Arjuna to obtain weapon Pashupatha. Though fresco has suffered a lot through ages yet muni can be seen clearly.The lady in black can be Draupadi and the figure next to her one of the Pandavas.Or may be it depicts Arjuna asking permission of Yudhisthara to leave to forest for doing penance.Whatever it might be despite the damage due to vagaries of time the intricacies of human features, ornaments etc is very endearing.

.

This one is the boar hunt scene from Kiratharjuniyam — Arjun tried to attack boar from one side while Lord Shiva, disguised as  Kirath attacked from other side. During hunt Arjun realized that it is not any ordinary Kirath and Shiva appeared before him in His real form and later on granted the boon of weapon Pashupatha.



Below are the scenes of Draupadi’s svayamvara. On leftmost side is shown Kala-Bhairava  with eight arms holding a severed human head and a bowl and His vahana dog is depicted nearby. Two persons, one short and another tall are shown in front of him, one of them would be Drupad worshiping his tutelary God. Next on right is King Drupad , Draupadi, his daughter is shown seated on his lap.This made me remember a ritual of marriages in South India being carried out till date, where the bride sits on the lap of father while the bride groom ties the Thali [ Mangalsutra} and Kanyadan is performed. How deeply rooted and connected are our rituals, customs etc. Next on right, in front of Drupad, Arjuna is shown shooting the matsya-yantra (fish dial) with an arrow looking its reflection in the water below the dial. This follows by the marriage of Arjuna with Draupadi.

.
Draupadi swayamvara

Draupadi Swayamvara.
Here are shown Virupanna and Viranna  worshiping their tutelary deity, Veerbhadra, with their family members.As per a legend, the Veerbhadra temple was constructed by Virupanna using the state treasury. The king came to know about it and announced the punishment that Virupanna  be blinded. When Virupanna heard this order, he executed it on his own on the same spot. Local guides will show you the place inside the temple where they say Virupanna threw his eyes.

Virupannas retinue
Here is Goddess Parvati with her friends and attendants. May be a scene before marriage of Shiva – Parvati. It is a lively piece of painting. The attires, the hair styles…variety is astonishing and reflects the skill of artist to capture trends of the time beautifully.

Parvati with friends and attendants.
This one next to the above one depicts the most favourite theme of the artists of yester years India….Shiva – Parvati marriage

There are many others mythological anecdotes painted there —a mural depicting King Muchukunda, the monkey-faced legendary Chola king who is attributed to have established Lord Thyagaraja at the Tiruvarur temple from the heavens,   Shiva and Parvati playing Chess, coronation of Rama,Nataraja dancing while other demi- Gods played various musical instruments and a large panel depicting the story of the legendary just king Manunidhi Cholan etc.
Veerbhadreshwara temple at Lepakshi is one of the greatest treasure of murals and frescos .These jewels of art not only depict the mythological themes but also documents the prevalent trends of social life of that time.
All the pictures by Sunder Iyer.